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I * I -^ 



PRACTICAL INSTRUCTION 



IN THE 



ART OF WOOD ENGRAVING 



FOR 



PERSONS WISHING TO LEARN THE ART WITHOUT AN 

INSTRUCTOR. CONTAINING A DESCRIPTION OF 

TOOLS AND APPARATUS USED, AND 

EXPLAINING THE MANNER OF 

ENGRAVING VARIOUS 

CLASSES OF 

WORK. 

Also, a History of the Art, from its Origin 
to the Present Time. 

By WILLIAM A. EMERSON. 






ILLUSTRATED, 









EAST DOUGLAS::" 

CHARLES J. BATCHELLER. 

1876. 



*!?' 




Entered according to Act of Congress, in the year 1876, by 

WILLIAM A. EMERSON, 
in the Office of the Librarian of Congress at Washington. 



CONTENTS. 



PAGE. 

List of Engravings, - 5 

Introduction, ------- 7 

Wood Engraving—Its Origin and History, - 9 

" " The Process Defined, - 15 

Kind of Wood Used and How to Prepare It, - 16 

Tools and Appliances Used, - 18 

Drawing on the Block, - 24 

How to Prepare the Wood for the Drawing, - 25 

The Drawing, 25 

Transfers, 28 

Engraving, ------- 29 

Lesson I. — Diagrams and Proof-Taking, - - 31 

" II.— Figure Outlines, - 32 

44 III.— Tints, 34 

" IV.— Plugging, 38 

" V.— Effective Designs, - - - - 39 

" VI.— Flowers, 40 

" VII. — Portrait Engraving, - 41 

" VIII.— Foliage, - - 45 

" IX— Rocks and Water, - - - - 46 

" X— Color Engraving, - 47 

Electrotyping, ------- 51 

Conclusion, ------- 52 



ILLUSTRATIONS. 



PAGE. 

Frontispiece. _____ 

Knave of Bells, 10 

St. Christopher, .12 

Armed Knight, - 13 

Wood Block, with Drawing, 16 

" " Engraved, - 16 

Boxwood Log in Sections, 16 

Bolted Blocks Screwed Up, - - 17 

'• " Separated, 17 

Dowelled Block, - 17 

Amalgamated Blocks, 17 

Gravers, - 18 

Tint Tools, 19 

Scoopers, _____ 19 

Chisels, 19 

Graver Ready for Use, - 20 

Engraved Executed with one Tool, 20 

Engraving Pad, - 21 

Shade for the Eyes, 21 

Eye-glass and Si and, - 22 

Angle at which Tools should be Ground, - 22 

InkDabber, - 23 

Oil Can, Oil Stone and Brush, 23 

Burnisher, - 23 

Chip Brush, - - - 23 

Saw for Cutting off Plugs, - 24 

Pumice Stone, - - - 24 

Chinese White, 24 



b ILLUSTRATIONS. 

Tracing Point, ----- 26 

Pencil Dividers, - 26 

Indian Ink, - - - - - 27 

T Square, - 27 

Transfer Material, 28 

Engraver at Work, - 29 

How to Hold the Blocks, - - 30 

" : « - 30 

Diagrams, - - - - - - 31 

31 

Figure Outlined, - - 32 

" Finished, - 32 

Group of Outline Figures, - 33 

Light Tint, ----- 35 

Dark " 36 

Graduated Tint, - - - 36 

Cloud Tint, 37 

Section of Block, Showing Plug, - - 38 

Method of Lowering Plug, 39 

Design in White, - 40 

" Black, - 40 

Boquet O/f Flowers, - 41 

Portrait, 42 

" 44 

Wood Scene, 45 

Rocks and Water, .■--'-■- 46 

Monogram in Colors, 49 

•' Color Blocks, ... 49 

End Cut, 52 



INTRODUCTION. 



This manual is designed as a Hand-book of Wood 
Engraviug; arranged in a simple and comprehensive 
manner. 

The author has often been requested to give private 
instructions in the Art. Some wishing to employ it as a 
means of gaining a livelihood, others, as an accomplish- 
ment; and the object in sending out tbis manual, is to 
supply what he believes to be an increasing demand 
for information on this subject. 

It is a fact well known to Wood Engravers, that 
educated and otherwise well informed persons, confuse 
Wood-cuts with Steel and Copper-plate Engravings, and 
Lithographs; and few understand the method by which 
they are produced, A knowledge of the first principles 
as here given, are, however, sufficient to prevent such a 
mistake. 

It is designed to benefit young persons who have not 
decided what trade or profession to adopt, and whose 
tastes are artistic. To such, it gives valuable informa- 
tion, and will enable them to act understandingly, when 
called upon to choose their future calling. 

To women of ability and artistic tastes, the Ag; is 
especially adapted. It opens to them a new avenue of 
employment, and there is no reason why women should 
not enter upon this field of labor, in which a few of their 
number have already achieved distinction. Many of this 
class have long desired to do so, and to such it points out 
the way. 



8 INTRODUCTION. 

To business men it is valuable, as nearly all kinds of 
business at the present day demands the services of the 
Engraver, and the knowledge gained by the perusal of 
this work, gives one a good degree of familiarity with the 
subject. 

First let it be understood by the learner, that no one 
can acquire the Art in a few months time. It requires 
perseverance and practice ; careful study of works of art, 
and a close observation of natural objects. 

Like every other department of art, it has its diffi- 
culties and discouragements, but if followed with a true 
love for the Art, it will exalt the learner and his works 
may sometime exert a lasting influence upon the world. 

In devoting ones time to Engraving the first con- 
sideration should be, the necessity for recreation. Being 
a sedentary occupation and requiring closer application 
than most other pursuits, less time should be devoted to 
it. 

Men in good health can engrave nine hours each 
day without being over-taxed. A woman ought, not to 
engrave over seven hours, and both should devote as 
much of the remaining time as possible, to exercise and 
recreation. A portion of this time spent in the exami- 
nation and comparison of works of art, makes a pleasant 
diversion from work and is a constant help. 

Many books have been published relating to Wood 
Engraving, but few of them have been of practical bene- 
fit to those wishing to learn the Art without an in- 
structor. With the belief that this will supply the long- 
felt want it is presented to the public. 



WOOD ENGRAVING. 



Origin and History. 



The Art of Wood Engraving is of great antiquity, 
and was practiced at an early period, although in a crude 
state. It is supposed to have originated with the 
Chinese, who made, impressions on paper, from wood 
blocks as early as 1120, B. C. 

Wood stamps, with engraved hieroglyphic characters 
were also used by the early Egyptians, for making im- 
pressions on bricks and ol her articles made of clay. This 
fact was established beyond doubt by the discovery of 
stamps of this character, in the tombs at Thebes, Meroe, 
and other places. 

Several bricks are on exhibition in the British mu- 
seum, which were found on the sight of ancient Babylon, 
bearing impressions of characters or marks made, while 
in a soft state, by the use of stamps. Various domestic 
utensils and ornamental articles, made of clay and of 
Roman workmanship, have also been found impressed 
with characters supposed to indicate the potter's name 
or that of the owner. 

Von Murr, in his Journal on the Art of Wood En- 
graving, in speaking of the Romans, says: "Letters cut 
on wood, they certainly had, and very likely grotesques 
and figures also; the hint of which, their artists might 
readily obtain from the colored stuffs which were fre- 
quently presented, by Indian ambassadors, to the em- 



10 WOOD ENGRAVING. 

Fig. 1. 




Knave of Bells. 



WOOD ENGRAVING. 11 

Impressions, from wood and metal stamps, of mono- 
grams, signatures, etc., for signing documents, impressed 
in a manner similar to that in which letters are post- 
marked at the present day, are in existence. Among the 
first of these, are the monograms used for this purpose 
by Pope Adrian, I, and Chaklemagne. 

The principle upon which the Art of Wood Engrav- 
ing is founded, that of taking impressions on paper with 
ink from engraved blocks, was known and practiced in 
attesting documents, in the thirteenth and fourteenth 
centuries; and about the beginning ot the fifteenth cen- 
tury the principle was adopted by German card makers, 
for printing outline figures on their cards. Fig. 1 is a 
fac simile specimen. 

It was next applied to religious subjects. The monks 
availed themselves of the same principle to represent 
the figures of saints. One of the earliest of these is in 
the collection of Earl Spencer, and was discovered in one 
of the most ancient convents of Germany, pasted within 
the cover of a latin manuscript. It represents St. Christ- 
opher carrying the infant Saviour across the sea, and is 
dated 1423. Fig. 2 is a reduced fac simile copy of this 
curious engraving. An engraved inscription accompany- 
ing it, is thus translated: 

"la whichever day thou seest the likeness of St. Christopher, 
In that same day thou wilt, at least from death, no evil blow 
incur : — 1423." 

Thus we see the earliest wood-cuts are awarded to 
Germany ; most of them being on religious subjects, and 
engraved before the discovery of printing by Gutenburg. 
They were executed in a rough style and, many of them 
colored . 

The next step was the application of the Art to what 
was known as block-books; consisting principally ot de- 
votional subjects, with short engraved inscriptions on 
the same block. Of these "The Apocalypsis," "The 
Historia Virginis," and "The Bible Pauperum," are the 



12 



WOOD ENGRAVING. 



most celebrated. An elaborate! account of these is given 
in "The History and Practice of Wood Engraving," a 
valuable standard work, by John Jackson. 

Fig. 2. 




St. Christopher. 



These engravings, although coarse, show an advance- 
ment in the Art, and about that time, whole books of 
text were engraved on wood. But the Art was to un- 
dergo a change. The invention of movable metal type? 
wedged together in an iron frame, was to supersede the 
engraved type blocks; and the impression, instead of 



WOOD ENGRAVING. 



13 



being taken by tbe tedious process of burnishing, was 
to be more speedily accomplished by the operation of the 
printing press. 

Fig. 3. 




Armed Knight. 



For a few years after the introduction of typography, 
the Art suffered a temporary decline, only to revive 
again. Under the stimulating influence of the press, en- 
gravings multiplied, until, from being confined to a few 
towns, they were introduced throughout Europe. 

The publication of illustrated books then became 



14 WOOD ENGRAVING. 

genial in Germany and Italy, reaching England in 
1476. 

Fig. 3 is interesting, as it represents one of the first 
of the English engravings, from a second edition of "The 
Game and Playo of the Chesse," published that year by 
Caxton, The engravings were quite rude compared with 
the earlier German works. 

About the beginning of the sixteenth century, a com- 
plete revolution in Wood Engraving was accomplished 
by the genius of Albeit Durer. His productions exhibit 
correct drawing, a knowledge of composition, light and 
shade, and attention to the rules of perspective ; which 
elevate them to the rank of finished pictures. 

It is thought by the best authorities that there is 
little probability of Durer having engraved his own de- 
signs, for in most of the wood-cuts supposed to have been 
engraved by him, we find cross-hatching freely intro- 
duced ; easily produced by the artist, in the drawing, but 
attended with considerable labor to the engraver. Had 
he engraved his drawings, he would, no doubt, have used 
means to produce effect, which would have been easier 
of execution. His illustrations were equaled by none of 
his contemporary artists. 

During the first half of the sixteenth century, the 
publication of books illustrated by wood engravings in- 
creased, and prevailed to a greater extent than at any 
other time, with the exception of the present day. 

From the beginning of the seventeenth century, the 
decline of Wood Engraving may be dated. Germany, 
the cradle ot the Art, being the first to forsake it. From 
this time, the Art suffered great neglect. 

In 1765, John Michael Papillou, an enthusiastic pro- 
fessor of the Art in France, made an unsuccessful at- 
tempt to restore it to its former importance ; but it was 
not until 1790, that the genius of Thomas Bewick gave it 
the impetus which made it what it now is. Since that 



WOOD ENGRAVING. 15 

time the Art has nourished without interruption, and at 
the present time, it seems to be at the zenith of success s 
for never before has there been such a demand for elab- 
orate and costly wood engravings ; they are to be found 
everywhere; in publications of the most expensive kind, 
in magazines, papers and books. The comparative 
cheapness and superiority of this class of engravings for 
books, has led largely to their use, to the exclusion of 
steel and copperplates. 



THE PROCESS DEFINED. 

Before explaining the process of Wood Engraving, 
let us first consider what this term implies and in what 
respect it differs from other kinds of engiaving. 

Engraving on Wood is the process of cutting away 
all the parts that have not been drawn upon. (See Figs. 1 
and 2.) It does not include ornamental carving on wood, 
but only such as is used in printing. The lines which in 
Wood Engraving are left standing, in Copperplate and 
Steel are cut in the plate ; the process being exactly the 
reverse.and as a natural consequence,the printing is done 
in a different mauner. The plate being warmed and the 
ink rubbed into the engraved lines or grooves, then the 
surface wiped and polished, card or paper laid on and 
pressed into the inked lines by means of a copperplate 
press. In printing a wood-cut the surface is inked the 
same as ordinary type, by the use of a roller, and printed 
on a common type press ; usually with reading matter 
set up in the same form, the wood being type-high. 



16 



WOOD ENGRAVING. 



Fig. 4. 



Fig, 5. 





The Drawing. 



The Engraving. 



KIND OF WOOD FOR ENGRAVING, AND 
HOW TO PREPARE IT. 

Several kinds of wood are used. Boxwood for all 
tine engravings ; American rock-maple, mahogany and 
pine for coarse ivoik. 

Most of the boxwood used, is imported from Turkey, 
for this purpose. It has the closest grain of any wood 
now known ; is light colored and will hold a fine clear 
line. 

The engraving is made on the end of the grain. 
To prepare the wood for use, it is sawed from the log in 
pieces an inch in thickness, as indicated in Fig. 6. The 
pieces are then made exactly type-high, by the use of 
planes and scrapers, producing a smooth level surface. 

Fig, 6. 





Boxwood Log in Sections. 



In most of our large cities there are dealers who 
prepare and furnish wood any size. 



WOOD ENGRAVING. 



17 



Large blocks which require much piecing are usually 
bolted and jointed together. These can be made of any 
required size, with the additional advantage that different 
parts of the drawing may be simultaneously engraved by 
different engravers and afterwards bolted together. In 
this way illustrated papers are enabled to produce in a 
day's time, a picture on which a single engraver might 
work for weeks. 







Fig. 


7. 




Fig. 8. 


A 


/ ■ 

1 


1 1 


t i 


S i 


JT 


1 

s 

1 -} 


<■ 


1 


1 1 


S 1 


S 1 



Back View of Bolted Block. 



Fig. 7 shows the back view of a bolted block, screwed 
up by means of bolts and nuts. The front surface is, ol 
course, smooth and even and prepared to receive the 
drawing. 

Fig. 8 shows the mode of separating the parts which 
are connected by bolts. At Ihe lines A A, the parts are 
permanently joined with glue, being either dowelled or 
algamated, as shown in Figs. 9 and 10, and are not in- 
tended to be separated. 



Fig. 9. 



7 V. 



Fig. 10. 



Dowelled. 



Amalgamated. 



18 



WOOD ENGRAVING. 



Care should be taken in selecting wood to have it 
free from red streaks nnd black or white spots. The two 
first mentioned are no indication of poor wood and sel- 
dom trouble the engraver, but they are unpleasant to the 
draughtsman, by reason of the color. The white spots 
indicate rotten wood, which crumbles away and cannot 
be engraved upon. In selecting wood, choose a pale 
yellow or straw color, free from blemishes. 



TOOLS AND APPLIANCES USED. 

A complete set of tools comprises six gravers, twelve 
tint tools, three scoopers and two chisels. 

The gravers or lozenge shaped tools, are evenly 
graduated from fine to coarse, as represented in Fig. 11. 
These being nearly square in shape, enables the engraver 
to vary the width of the lines from a very fine one to 
one quite coarse. 



A 

< N 




Gravers. 



The tint tools are used in cutting tints, such as skies 
and flat surfaces. (Fig. 12.) The finest tool from which 



WOOD ENGRAVING. 



19 



the rest are graduated, being so thiu that the line it 
makes is scarcely visible in printing. 



9 10 




Tint Tools. 



Scoopers or digging-away tools are three in number 
and are rounded on the bottom; (see Fig. 13.) No. 12 
being a size larger than the largest tint tool used. They 
are employed in clearing away all the wood not drawn 
upon. Notwithstanding the work to be done with these 
tools is coarse and rough, yet a good degree of skill is 
required to use them properly, as the dead wood must be 
removed from the lines without bruising them; thus 
securing clear sharp line in printing. 

Fig. 13. Fig. 14. 

11 12 13 I II 



Scoopers. 



LmaJ 
Chisels. 



20 



WOOD ENGRAVING. 



The two chisels (Fig. 14.) are used in cutting away 
and leveling the surface, when necessary. 

Handles may be made of cork or wood: usually of 
cork,because of its lightness and the readiness with which 
it fits the hand. 

Fig. 15. 




Graver Beady for Use. 

The graver handles should be marked, for conve- 
nience, A, B, C, D, E, F. The tint-tools and scoopers, 
1, 2, 3, etc.; and the chisels, I, TI. 

Fig. 16. 




Engraving Executed with one Tool 



WOOD ENGRAVING. 21 

For beginners only a small number of tools are 
necessary, as additions can be made as fast as needed. 
The following selection is sufficient to commence with : 
three gravers, A, D, and F; five tint-tools, 1, 2, 4, 6, and 
8; two scoopers; and one chisel. 

A great variety of work may be done with a small 
number of tools. As an illustration, Fig. 16, was engraved 
entirely with one medium sized graver. 

In addition to the tools, the following articles are 
necessarv : 



1. 


Engraving pad. 


2. 


Shade for the eyes. 


3. 


Engraving glass and standard. 


4. 


Oil stone. 


5. 


Ink dab(T. 


6. 


Box of wood-cut ink. 


7. 


Burnisher. 


8. 


Small saw. 


9. 


Chip brush. 


10. 


India paper for taking proofs. 



The engraving pad should be made of good smooth 
leather, and filled with fine sand. It well filled, the 
block can be turned easily upon it, and the longer it is 
used, the more readily it will adapt itself to the block. 
(Fig. 17.) 

A green shade should be worn to protect the eyes 
from too strong a glare of light from overhead. (Fig. 18.) 

Fig. 17. Fig. 18. 





Engraving Pad. Shade for the Eyes. 



22 



WOOD ENGKAVING. 



Most engravers use a magnifying glass of moderate 
power; more for relieving the eyes from the strain of 
keeping them fixed on a small object, than for magni- 
fying the work. It should be from an inch and a quarter 
to two inches in diameter. 

A standard, for holding the glass, is made as shown 
in Fig. 19; the base being of iron or lead, so that it may 
not be easily overturned. 

Fig. 19. 



& 



0- 



Eye-glass and Stand. 

An Arkansas oil stone is sufficient for keeping the 
tools sharp, after being ground on a common grindstone. 
To sharpen them properly, a few drops of oil should be 
put on the oil stone and the tool rubbed back and forth, 
great care being taken to hold it steadily, thus securing 
an even cutting edge. 



Fig. 20. 
Angle at which Tools should be Ground. 



WOOD ENGRAVING, 
Fig. 21. Fig. 22. 



23 




Ink Dabber. 



Oil Stone. 



The ink dabber is a pad made of fine calf skin, 
properly filled, and the leather so firmly drawn that no 
wrinkles will form on its surface while being used. 

Fig. 23. 



Burnisher 

For an ink slab take a smooth stone slab, or plate of 
thick glass, or a piece of engraver's wood, or anything 
having a smooth surface upon which to distribute the 
ink. 

Fig. 24. 




Chip Brush. 

For proof-taking, the best wood-cut ink should b« 
used ; keeping it in a small box having a close fitting 
cover, to protect it from the dust. India paper and a 
burnisher for taking the impressions of engravings ; a 



24 



WOOD ENGRAVING. 



soft brush for clearing away small chips; and a fine saw 
for cutting off plugs, complete the list of necessary 
articles for engraving. 

Fig. 25. 




Saw for Cutting off Plugs 



DRAWING ON THE BLOCK. 



In making a drawing 
articles are necessary : 



the block, the following 



1. Piece of pumice stone. 

2. Cake of beeswax. 

3. Cake of Chinese or Flake White. 

4. Small camel hair brush. 

5. Transparent tracing paper. 

6. Case of pencils. 

7. Tracing point. 

8. T Square. 

9. Ruler. 

10. Pencil dividers. 

11. Cake of Indian ink. 



Fig. 26. 



Fig. 27. 




Pumice Stone. 




WHWTOM 



Chinese White. 



WOOD ENGRAVING. 25 



HOW TO PREPARE THE WOOD FOR 
THE DRAWING. 

Although drawing on the wood and wood engraving 
are not commonly done by the same person, yet it is 
very important for the beginner to be able to make his 
own drawings. It is true, he may secure a better result 
by employing a draughtsman, but he should make it a 
part of the instruction in engraving; for, with a knowl- 
edge of drawing, acquired by its practice in connection 
with engraving, he will better understand the drawings 
of others, and will more readily give the spirit of the 
artist's meaning. 

Wood, as prepared for the engraver, has a polished 
surface, too smooth for drawiug upon with a pencil ; to 
give it the required surface, moisten the face of the block 
and rub it with the flat surlace of a piece of pumice 
stone, being sure first that it is even and free from grit- 
Wheu the gloss has thus been removed, and the Jittle 
scratches on the surface taken out, brush off with the 
hand whatever adheres to it, and with a camel hair 
brush, moisten the surface with Chinese or flake white 
mixed with water, and rub in briskly with the fingers, 
trying to secure an even coating. When it is dry it 
forms an excellent tooth for the pencil. Care should be 
taken to use as little water upon the block as possible, as 
it may cause it to warp. 



THE DRAWING. 

A sketch or design, is first made on paper, unless 
you have a photograph or a picture the exact size you 



26 



WOOD ENGRAVING. 



wish. Place the tracing paper over the copy, fastening 
it securely at the corners to keep it in place, and with a 
soft pencil, kept sharp at the point, trace a clear outline. 
Fasten the tracing paper to the block, face downwards, 
by means of beeswax rubbed on the sides. With a trac- 
ing point, retrace the lines, so that they will be visible on 
the block. Remove the paper and with a h h h h h h 
pencil, strengthen the outline, correcting and improving 
the picture as you proceed. The drawing may then be 
shaded in with a soft pencil or Indian ink, according to 
the taste and skill of the learner. 



Fig. 28. 



Fig. 29. 



i 



I 



Tracing Point. Pencil Dividers. 

Accuracy of outline must be observed in drawing, 



WOOD ENGRAVING. 



27 



for every defect in the outline is more apparent when 
the engraving is printed. 



Fig. 30. 






Cake of Indian Ink. 



In drawings where curved lines or circles are intro- 
duced, a pair of pencil dividers are necessary for draw- 
ing even lines; they will be found useful, not only in 
describing circles, but for taking measurements and a 
variety of other uses. 

A small T square is also needed, for drawing parallel 
or perpendicular lines with accuracy. 



Fig. 31. 



{ 



T Square. 



It is usual to cover the drawing with tissue paper 
while the engraving is in progress, to prevent it from 
being soiled or the 'sharpness of the lines destroyed; to 
do this, cut a piece of paper a little larger than the block, 
rub the edges of the block with beeswax, cover it with 
the paper, drawing it tightly over and burnishing it on 
the waxed edges. The covering is then cut open at the 



28 WOOD ENGRAVING. 

point where the engraver is to commence, and the 
opening enlarged as. fast as required. 



TRANSFERS. 

Fig. 32. 




In making an exact copy of a wood-cut, steel or 
lithographic print, the labor of drawing is saved: by trans- 
ferring it to the block, in the following manner: the 
block is prepared by the use of the pumice stone and 
water, without being whitened. The print from which 
the transfer is to be made, is placed in an earthen plate 
and a preparation, made by dissolving caustic potash in 
alcohol, is poured over it and allowed to remain about a 
minute, until the ink is softened ; rinse the liquid off by 
dipping it in clear water; absorb the water by touching 
the lower edge of the print to a piece of blotting paper ; 
lay the print on the block and subject it to the pressure 



WOOD ENGRAVING. 



29 



of a printing press, which will if properly done repro- 
duce the picture. 



ENGRAVING. 

Fig. 33. 




Engraver at Work. 



The drawing being prepared on the block, the next 
thing to be observed, is the mode ot sitting at the table 
and holding the work. The block should rest upon the 
pad, at such an elevation as to allow the learner to sit 
erect while at work. Hold the block, not too tightly, 
with the thumb and forefinger of the left hand, so it 
may be easily moved around or turned on the pad. 
With the right hand the graver is held, with the handle 
resting in the palm. The graver is then pushed forward 
with the thumb and forefinger, guided by the thumb 
resting on the surface of the block, as in Fig. 34, or 
against the side as in Fig. 35. 



00 



WOOD ENGRAVING. 
Fig. 34. 




Fig. 35. 




LESSONS IN WOOD ENGRAVING. 



LESSON I. 

DIAGRAMS AND PROOF-TAKING. 



For the first lesson in engraving, a few diagrams are 
given, which will enable the learner to get the use of the 
tools, somewhat, before attempting more complicated 
outline cuts. 

Fig. 36. 





Fig. 37. 




The lines should be carefully outlined with a fine 
tint tool. After the outline is finished on the inside, 
take a wider tool and carefully cut the wood away from 
the lines; then outline the outside, leaving an even 



32 



WOOD ENGRAVING. 



width of line, and cut away as before. When finished, 
a proof may be taken and the lines trimmed up where 
irregular. 

To take a proof, first, put a small quantity of ink on 
the dabber and beat it upon the slab until it is evenly 
distributed ; when the engraving is sufficiently inked, a 
piece of India paper, a little larger than the face of the 
block, is laid upon the engraving, a thin card laid upon 
that, and then burnished over with a paper-folder until 
a good impression of the cut is taken. The engraver's 
prints should be superior to those taken by a pressman. 
Light and delicate portions of an engraving should be 
rubbed very gently and the darker parts brought out by 
a heavier pressure. 

The beginner will find it pleasant to keep proofs of 
his work, and, by comparison, observe the progress 
made. 



LESSON II. 



FIGURE OUTLINES. 

Fig. 39. Fig. 40. 





Figure Outlined. 



Figure Finished. 



After engraving the diagrams each in their order, a 
careful drawing may be made of the outline subject,Fig.40. 



WOOD ENGRAVING, 



33 



In the engraving, commence at the top of the draw- 
ing and outline the under part of each line, being care- 
ful to leave as much sui face as the pencil lines cover. 
After outlining, clear away the wood, being careful not 
to bruise the lines with the under part of the tool. To 
guard against this, a thick card may be placed under 
the tool. 



Fig. 41. 




34 WOOD ENGRAVING. 

The next subject, Fig. 41, introduces more variety, 
and the learner is now prepared to bring into use the ex- 
perience gained in the previous lessons. In the different 
figures of this group the lines vary to represent the 
texture and form of each. The same directions should 
be followed as in the previous cuts, observing the differ- 
ence in the strength of line and the variety of outline. 



LESSON in. 

ENGRAVING TINTS. 

Having acquired some decree of freedom in the use 
of the tools, before commencing on shaded pictures, the 
attention should be given to cutting tints. The future 
success of the pupil depends very much on his skill in 
tint cutting; and although it may at first seem tedious, 
yet if persistently and patiently practiced, it will result in 
great benefit to him. This stage of engraving is so im- 
portant that it should receive the most careful attention, 
A golden rule for the learner is to keep constantly on 
hand a block on which to engrave tints, and to give some 
portion of each day for practice on this particular style 
of work. 

To engrave a flat tint, take a small piece of box- 
wood, wash the surface with Indian ink; and when dry, 
draw very light parallel lines about one fourth of an inch 
apart; select a medium sized tint tool; place the block 
on the pad as in Fig 1 . 34 ; commence near the right hand 
upper corner, directly under the first pencil line; guide 
the tool with the thumb and forefinger and cut a line 
slowly and as straight as possible across the block, being 
careful to cut an even depth of line. In cutting the 



WOOD ENGRAVING. 35 

second line, place the tool tlie width of the line to be en- 
graved below and push it forward slowly in short strokes, 
until the line is finished, aiming to leave the line as wide 
throughout as ?.t the beginning. 

It is not probable that the learner will succeed in 
keeping the tool from going upward, thus making the 
line thinner, or downward, making it thicker; but by 
following the directions closely, he may succeed in mak- 
ing a fair line. 

Cut every line carefully, without minding the time 
it takes; giving more attention to quality than quantity. 
If the lines commence running up or down, stop imme- 
diately and commence again under the next pencil 
line, improving by observing the faults of the previous 
attempt. 

Fig. 42. 




Light Tint 

When finished, lake the dabber and with a small 
quantity ofink, distributed on the ink slab as explained, 
beat the block lightly as in taking proofs ; this being done 
the quality of the work is shown. With a finer tool than 
before, go over the work ; where the lines are too thick, 



36 



WOOD ENGRAVING. 



take a thin shaving off the upper or the lower side of 
the line, or hoth,in such a way as to leave it straight and 
even, being careful not to make the lines too thin by re- 
moving too much ; where the lines are too thin they 
cannot be remedied, and should be let alone. 

By using different sized tint tools, a variety of tints 
may be cut; also, with the same tool, more surface of 
line may be left and thus a different tint produced. (Fig. 

43.) 

Fig. 43. 




Dark Tint. 
After sufficient practice in cutting flat tints, proceed 
with graduated tints, which are produced by varying both 
the width of line and the distance apart. 
Fig. 44. 




Graduated Tint. 



WOOD ENGRAVING. 



37 



Plain tints are used to represent sky and all flat 
surfaces; the graduated tints for cylinders and round 
surfaces ; but tints vary according to the taste of the en- 
graver and the subject to be engraved. Especially does 
this apply to skies and cloud work, an illustration 
of which is given. It is formed of lines carefully blended 
together, with fine gravers. To do this skilfully the 
gravers used must be kept sharp, which, with artistic feel- 
ing on the part of the pupil, will insure a good result, and 
the means by which it has been accomplished cannot be 
detected without the closest examination. 

Fig. 45. 




Cloud Tint. 



To make a drawing of the sky tint, trace the darker 
portions of the cloud work and offset it lightly on the 
block, with the burnisher; then go over the whole sur- 
face with a very light coating of Indian ink. When dry, 
go over all the darker parts with a second coat, repeat- 
ing the process if necessary until the light and shade in 
the drawing compares with the copy. Then, with a 
brush, wash in the high lights with Chinese white- 



38 WOOD ENGRAVING. 

In the engraving, first remove the high lights with a 
small scooper, then cut the dark parts with a fine graver 
and vary the size of the tool according to the shading, 
the closest attention being paid to the copy. 



LESSON IV. 



PLUGGING. 

At this stage of engraving, it is well to consider how 
to remedy mistakes, commonly called slips, which are 
liable to be made, especially before the learner acquires 
the use of the tools; but they should be guarded 
against until they very rarely occur. 

Fig. 46. 




Section of Block, Showing Pluq. 

When it is necessary to plug a block, first consider 
how much of the surrounding surface must be taken out 
to make a close joint, which will not show when printed. 
A hole is then made in the block with a gimlet, in pro- 
portion to that of the alteration to be made. A round 
tapering plug is then formed, a trifle larger than the 
hole, so that when driven like a wedge it will fit closely 
all around and is ready to be levelled and smoothed. 
This is done by sawing off the plug with a small watch 
spring saw, having first placed a piece of writing paper 



WOOD ENGRAVING. 39 

on the block to protect the work ; this being done, the 
plug is shaved down even with the surface, by the use 
of a very sharp wide chisel, care being taken not to shave 
it lower than the surface, as it would then be necessary 
to replug the block. 



Fig. 47. 




Method of Lowering Plug. 



LESSON V. 



EFFECTIVE DESIGNS. 

In wood engraving, effects of light and shade are 
easily produced. Examples are given on page 40, in- 
troduced at this time for variety and to give the learner 
a little more practice before going on to more complicated 
subjects. In an engraving of this kind, accuracy of out- 
line is very necessary, especially in Fig. 49, in which 
every detail of outline adds to the effect. 



40 



WOOD ENGRAVING. 



Fig. 48. 



Fig. 49. 




Design in White 



Design in Black. 



LESSON VI. 



FLOWERS. 



Flowers and leaves are usually represented in deli- 
cate tints. On the next page, we have a good sub- 
ject for pract ice ; a well arranged boquet , made up of a 
variety of flowers and 






WOOD ENGRAVING. 
Fig. 50. 



41 




Boquet of Flowers - 



LESSON VII. 



PORTRAIT ENGRAVING, 

In portrait engraving, a large amount of practice is 
necessary to enable the beginner to preserve the ex- 
pression of the face, by leaving a sufficient amount of 
color in all the principal features, such as the eyes, nose 
and the under part of the lips. While engraving, bear 



42 



WOOD ENGKAVING. 



in mind that cutting away and weakening the color in 
the features cannot be easily remedied, but if the parts 
are too dark they can be readily lightened. To be a suc- 
cessful portrait engraver, ones whole time and attention 
should be given to this branch of the Art. 







WOOD ENGRAVING. 43 

Wood Engraving is capable of producing a more 
effective and artistic portrait than any of the finer and 
smoother processes. 

In the two examples given, a variety of work is in- 
troduced. The flesh tint in Fig. 51 is a good illustration 
of white cross-lining, which is the opposite of black 
cross-lining or cross-hatching, and is produced by cutting 
ordinal y lines, to conform to the surface of the face, 
which are afterwards cross-lined, the same rule being 
observed in making the lines conform to the surface of 
the face, which gives it increased roundness and finish. 
These rules apply to all flesh tints, whether hands, feet 
or faces. Fig. 52 shows the delicacy and roundness of 
the face and hands, the free and wavy character of the 
hair and the variety of drapery. 

The methods employed in cutting portraits are so 
varied that it would be advisable to collect and study 
the different styles and select the best sublets for prac- 
tice. 

When the subject is to be copied from a photograph 
or cartes-de-visite, the services of the photographer 
should be called into use ami the subject photographed 
on the block, thus giving all the features in the minutest 
detail. 

By a careful study of engraved portraits, the learn- 
er should make himself familiar with the mode by which 
the form of the features are preserved. After this has 
been done, if prepared to carry out the instructions with 
judgment and with a definite object in view, he will, in 
a measure, be successful. But if there is any uncertainty 
about the proper way to treat a portrait, do not attempt 
it until, by further observation and study, the way is 
made clear. 



44 



WOOD ENGRAVING. 



Fig. 44. 




WOOD ENGRAVING. 45 



LESSON VIII. 

FOLIA GK. 

Fig; 53. 




Wood Scene. 



In this example we have represented a native forest, 
clad in the luxurious foliage of early summer. The 
effect of coolness which is suggested in the shades, and 
the warmth of sunlight streaming through the tree 
branches, is produced by the judicious use of the graver, 



46 



WOOD ENGRAVING. 



while the same emotions and feelings should be experi- 
enced by the engraver as though in the presence of the 
reality. The means by which the feeling is expressed, 
will be seen by observing the style employed in the 
copy. 



LESSON IX. 



ROCKS AND WATER. 

Fte. 54. 




The plate illustrating this lesson shows the method 
of engraving rocks and water so clearly that very little 
instruction is necessary. 

The rocks in the distance are more delicately cut 
than in the foreground, the same rule being observed 



WOOD ENGRAVING. 47 

in the treatment of the sky and foliage, in contrast with 
the foreground, the lines of which have more strength 
and character. 



LESSON X. 

COLOR ENGRAVING. 

The practice of printing wood-cuts in colors, from 
different blocks, originated towards the close of the 
sixteenth century. It was discovered by Albert Durer, 
who found the Art of Wood Engraving in its infancy, 
and by his remarkable genius, raised it to be a pattern 
for all times. 

The invention was used at that time principally in 
ornamental designs, but has now attained a high degree 
of perfection, being used not only in common merchan- 
dise labels and ornamental designs, but in the finest 
book illustrations. 

Before commencing a color engraving, it is desire- 
able to make a complete design in colors, from which to 
copy the eugraving. From this, draw and engrave the 
principal block, then take a proof and transfer to another 
block, (rom which cut away all except the portions 
necessary to print the next color ; proceed in the same 
manner with the remaining colors, transfers being taken 
from the principal block for each color. As an illustra- 
tion, the blocks used in the accompanying monogram 
are shown separately. 



WOOD ENGRAVING. 49 

Fig. 55. Fig. 56. 





c 



Fig. 57 



Fig. 58. 




Fig. 59. 








*\A 



\* 



x;^- 



y 



ELECTROTYPING. 



The invention of Electrotyping, by which wood- 
cuts and type are reproduced, is comparatively re- 
cent; although experiments in electro-plating were made 
in Europe, from 1801 to 1845, with more or less success. 

It is a chemical and mechanical operation combined, 
and is perlormed in the following manner: A mould is 
made of pure wax, upon which the wood-cut is impressed 
by means of a press of sufficient power to brine out even 
the finest lines ; the mould is then covered with a fine 
coating of plumbago, which is evenly distributed by 
brushes, thus giving a conducting medium for the elec- 
tric current, which is further strengthened by a wash of 
sulphate of copper. The result is a thin film, coating the 
entire surface and hastening the deposit of copper. The 
wires from an electro-magnetic battery, are attached to 
the mould, which is then suspended, from a metal rod, in 
a trough containing a solution of acidulated sulphate 
of copper. Copper plates are suspended in the solution 
facing, but not touching, the mould. The rods are con- 
nected with the battery by wires, and the circuit of elec- 
tricity completed. The copper plate is rapidly decom- 
posed and deposited on the face of the mould. In ten or 
twelve hours a copper shell is formed, which on being 
removed from the mould, receives a coating of chloride 
of zinc ; melted type metal is then poured or dipped in- 
to the shell. After cooling, the face is laid on a perfectly 
level iron plate and the superfluous type metal planed 
off and the the plate squared and trimmed up and 



52 WOOD ENGRAVING, 

screwed on blocks of wood, which bring them the height 
of t ype. 

It is best to have a wood-cat electrotyped before 
printing from it, and preserve the engraving, from which 
electrotypes may, at any time, be taken. 



CONCLUSION. 

Having given, in a few lessons, directions as simple 
and practical as possible, it now remains for the learner 
to make the best use of the information given, and ac- 
cording to his own aptness and diligent application, will 
he be able to engrave well in a longer or shorter time. 
Perfection in engraving is never reached, and the best 
engravers see higher and better results to be attained. 
Then set your standard high ; let no opportunity for ac- 
quiring information pass unimproved; learn something 
new from every attempt; be not easily satisfied with 
your own engraving, but strive to remedy its faults. 
With the hope that these suggestions may be of value 
and that the instruction herein contained, serve the 
purpose intended, we leave our readers to achieve the 
success which perseverance and a love of the Art will 
insure. 




Price List. 



All Articles 

included in this Price List guaranteed satisfactory 
and may be exchanged if found imperfect in any 
respect. 

Any articles used in Drawing or Engraving, 
not included in this List can be furnished at the 
Lowest Cash Prices. 

All communications Jrom customers promptly an- 
swered, and prices given on application. 

Wood Engraving 

of Every Description, 

SKETCHING, DESIGNING, 

DP A WING ON THE BLOCK, 

AND TRANSFERRING, 

done promptly and on reasonable terms. 

Cuts of Machinery, Stoves, Buildings, Monograms, 

Autographs, Lodge Seals, Labels, Color Work, 

Cards, Bleach Stamps, Posters, fyc, S?c. 

SEND FOR ESTIMATES. 

Wm. A. Emerson, 

EAST DOUGLAS, MASS. 



ROBERTS BRO'S, 

Manufacturers ^ of 

CAMERA BOXES. 

Constantly on hand 

BOXWOOD * MAHOGANY, 

PREPARED FOR ENGRA VERS. 

6 Franklin Avenue, 

BOSTON. 

Orders by mail or express promptly attended to. 

B. EOGEES, 

Successor to 
Bay State Electrotyping Co, 



'9 

Book, Pamphlet, Wood- Guts, Gards, Circulars, 
Labels, Advertisements, Stamps, and 

JOB WORK OF EVERY DESCRIPTION, 

Electrotyped and Stereotyped promptly, and in the 

best manner. 
f^* Type Composition done at reasonable prices. 




CASE A 



CONTAINS 

(see fig.) (pkice each.) 

12. 5 Tint Tools, in handles, ~ - .40 
11. 3 Gravers, " ... .40 

13. 2 Scoopers, «... .40 

14. 1 Chisel, " ... .40 
25. 1 Small Saw, «-•-•- jo 
24. 1 Chip Brush, - - - - .30 

17. 1 Engraving Pad, (French Calf.) .75 

18. 1 Shade for the Eyes, ... .40 
21. UnkDabber, - - .75 
23. 1 Burnisher for Taking Proofs, - .40 

1 Box Wood-Cut Ink, - .25 

1 Sheet of India Proof Paper, - .25 

All Complete in a Handsome Black Walnut Case. $7.50 

" Plain Cedar Box, 7.00 




CASE B 





CONTAINS 




(see fig. 


) (price each.) 


28. 


1 Tracing Point, - 


.15 


26. 


1 Piece of Pumice Stone, 


.15 


27. 


1 Half Cake Chinese White, 


.15 


30. 


1 Stick Indian Ink, 


.25 


31. 


1 T Square, 


.50 


29. 


1 Pr. Nickel Plated Dividers with 






Extension Bars, - 


1.50 




1 H H H H H H Pencil, 


.15 




1 H H H H Pencil, - 


.15 




4 Tracing Pencils, - 


.10 




1 Sheet French Tracing Paper, - 


,25 




1 Cake of Wax, - 


.10 




3 Brushes, - 


.10 




1 Ruler, ------ 


.15 


All Complete in a Handsome Black Walnut Case, 


$4.00 


u 


Plain Cedar Box, 


3.50 




CASE C 



CONTAINS 

all the Articles for Drawing and Engraving enumerated 

in Cases A and B. 



In Handsome Black Walnut Case, 
In Plain Cedar Box, 



$10,50 
1000 



The following Articles, not included in the Sets, can 
be furnished if desired : 

(SEE FIG.) (PEICE EACH.) 

32. 1 Bottle Transfer Mai erial, -. - .40 

19. 1 Eve-glass and Standard, - - 1.50 

22. 1 Arkansas Oil Slone, in Box, - -100 

22. 1 Oil Cup, .25 

1 Two Inch Eye-glass, - - - 1.00 



Teems :- 



notice: 

CASH ACCOMPANYING ORDERS. 



Goods will be packed with the utmost care and sent 
post paid, unless otherwise ordered, at the risk of the 
party ordering. 



'In sending Money, procure, if 
Post Office Money Order, or Registered Letter. 



PEACTICAL INSTRUCTION 



IN THE 



ART OF WOOD ENGRAVING 



FOR 



PERSONS WISHING TO LEARN THE ART WITHOUT AN 

INSTRUCTOR. CONTAINING A DESCRIPTION OF 

TOOLS AND APPARATUS USED, AND 

EXPLAINING THE MANNER OF 

ENGRAVING VARIOUS 

CLASSES OF 

WORK. 



Also, a History op the Art, from its Origin 
to the Present Time. 

By WILLIAM A. EMERSON. 



ILLUSTEATED. 



EAST DOUGLAS : 

CHARLES J. BATCHELLER. 

1876. 



PRICE 50 CENTS. 



H 35 85 










*°V 



*° V '" / ^ * • - ° A, 











4 O 




